MAN OF STEEL NEEDS AN ENEMA

Because MAN OF STEEL is kind of shitty.

I am going to do something different this time and talk about things I liked as well as the perpetual shit parade that pranced throughout my viewing of this movie.

I was okay with Superman killing Zod. I was okay with the destruction of Metropolis. At that point in the film Zod was–while wanting to pummel Kal-El into oblivion–still more interested in the annihilation of humanity. Had they pulled a SUPERMAN II move I am confident that this Zod would have simply erased Metropolis from the face of the planet, rather than flying after Superman to some remote location.

THINGS I LIKED:

  • Faora. She will be mine. Oh yes, she will be mine. I was also a big fan of how she fights. What, you thought I was just thinking with my penis here? Using super speed to traverse the extremely short distances between her and her enemies was fun to watch and a good use of her new-found powers.

  • Kevin Costner. He probably had the best performance out of anyone in the film.
  • Costume and set design, especially on Krypton. I even warmed up to Superman’s new suit.
  • When Thick Morpheus grabbed his compadres during the destruction of Metropolis and, instead of continuing to run along the path of a falling skyscraper a la PROMETHEUS, he ducked down the nearest side street.
  • Superman finding his inner …Superman and, despite the fifty-five billion tons of Kryptonian gravity bearing down on him, finds his can of spinach and manages to fly up and curb stomp the world machine.
  • Lois Lane making fun of Superman and informing him that it is, in fact, an S on his chest.

THINGS I DIDN’T LIKE:

  • You’re going to change the world x65. I didn’t actually count to see how many times Clark was told that he would change the world, but basing it on how annoyed I became with the line I am estimating it being uttered no less than sixty-five times.

  • Shaky cam. I hate American film makers with such unbridled fury that my rage could burn up the sun and blacken our solar system permanently. For once I would like to watch a new triple A movie that wasn’t filmed with a fucking GoPro or Handycam. I would also like to see a movie that doesn’t have scene cuts every four to six seconds, especially during climactic fight sequences. Anyone watch BULLET TO THE HEAD? I recommend students of film seeing it at least once so they can log it away as how fight scenes should never be done.
  • Lens flares. I know everyone in Hollywood seems to be infatuated with burning the collective retina of their audience with shiny bullshit. It ruins immersion. I’m supposed to BE THERE, right? Especially with all that camera being three inches from the faces of the actors, held by a man with late-stage Parkinson’s disease crap. I thought the point of shaky cam and “Is that a hair coming out of his nose?” cinematography was to help the audience feel immersed in the flick, then they go and ruin it by adding lens flare effects. If I were actually there, on Krypton, I WOULDN’T SEE LENS FLARES, JACKASSES! Jor-El doesn’t see lens flares, why should I be subjected to their headache inducing effects? You have multi-million dollar equipment and tens of thousands of dollars worth of education, some of which to teach you how to avoid real lens flares and other camera anomalies, and then you ask the guys in the visual effects department to add a metric ton of them back in? Fuck you.
  • Zod. I was in no way, shape or form, ever intimidated by this man. In fact, it seemed to me that he was doing far less acting and far more reading all of his lines from a cue card, and reading them poorly. I’m not saying we needed a different actor–although that may have helped–I’m just saying that maybe once or twice during production Zack Snyder could have taken him aside and, you know, politely asked him to do his job. The Zod from Superman II was way more scary than this guy, and he was practically a string bean!
  • Krypton’s “atmosphere” rendering Superman helpless. I almost wanted this to make sense, but then I realized that Zod and his henchmen were capable of super strength while still breathing in Krypton’s atmosphere by way of their respirators. Why are they still super strong but it strips Kal-El of his powers? I attempted to argue with myself that they’re so used to Krypton’s gravity that they merely appear to be super strong while on Earth. But that’s crap, because if their ship really simulated Krypton’s gravity how come Lois Lane’s frail, human body wasn’t instantaneously crushed when she boarded? You know, like how all the cars and buildings were reduced to two dimensions during the brief terraforming of the planet to mimic Kryptonian conditions. Woops?
  • Along the same lines, I wasn’t really cool with how it took Clark Kent 33 years to acquire, hone, and control his powers but it required Zod and his goons roughly forty-five seconds to do the same. Especially when the movie attempts to explain that over the course of those 33 years Superman has absorbed so much of the sun’s radiation that it has made him immensely strong. But somehow Zod’s cells can replicate that process in just a handful of minutes. Wut?
  • Finally… Flying in the infinite vaccuum of space where there exists no air or atmosphere: NO PROBLEM! Breathing “Kryptonian atmosphere” for fifteen seconds: OMG, WHERE ALL MY POWERS GO? Anyone else facepalming out there?

So really, to sum everything up, the entire problem with MAN OF STEEL wasn’t that Zack Snyder reinvented the character, loosely based on the previous seventy-five years of canon. The problem is that he wanted to turn Superman into a science fiction movie but neither he nor his writers were intelligent enough to make it happen. Which is, honestly, a major failing of just about all science fiction movies. So thank you, Mr. Snyder, for shitting all over nearly a century of canon in favor of creating something that managed to make even less sense than a man who uses a pair of eyeglasses as the primary element to his alter ego disguise.

PROMETHEUS IS BAD, YEAH

I’m not entirely sure what Mr. Scott wanted this movie to be, but I’m positive it didn’t turn out the way he envisioned. If anyone is unfamiliar with PROMETHEUS, he was a Greek God or titan who either helped mankind in spite of Zeus or was our original creator and molded us out of clay. It really depends on what myth you like the sound of the best. Either way, PROMETHEUS helped humanity become what it is today.

The first scene in the movie depicts a humanoid alien seeming to sacrifice himself in order to propogate what I assumed to be the Earth with his genetic code during the primordial stages of the planet, thus fulfilling the PROMETHEUS reference. So far, so good, the movie is taking a page out of the myth.

Afterward we, the audience, are informed that the ship is named PROMETHEUS for reasons that still escape me. They’re on an exploratory mission to find the original creators of man (aka PROMETHEUS) who they decided to refer to as engineers instead. No intelligent quips about the myth can be found anywhere in the movie. In fact, I’m fairly confident at this point that Ridley Scott has no idea who PROMETHEUS actually is and just liked the sound of the word; he branded the ship with it so he could hear his actors say it as many times as possible throughout the movie. In retrospect I suppose I took the title too literally and it’s my own fault for believing Hollywood could get anything right.

Much like James Cameron’s giant loogie to the face of quality film making named AVATAR, PROMETHEUS is one giant cliche from beginning to end. Scientific mission? Let’s get a couple of scientists together who abhor violence of any kind, then recruit some assholes who will be sure to fuck up somewhere along the line and end up getting people killed. First of all, any real scientist is going to understand and appreciate protection in an unknown and potentially hostile alien environment. Somehow, after all these years, Hollywood still believes all scientists to be as dipshitted as Timothy Treadwell.

Let’s also consider for a moment that this is a privately funded expedition by a trillionaire CEO of the largest and most important corporation in the galaxy, and they can’t seem to afford a disciplined crew? Instead they end up with the kind of retards you find hanging out and getting shitfaced at your seedy local bar. Self-righteous scientists, say hello to meatheaded asscans–how many times has this movie been made? Sixty? More? We can’t get a more intelligent premise than this out of Ridley Scott? I guess I shouldn’t be surprised. After AVATAR I thought science fiction had nowhere to go but up, turns out Mr. Scott proved me wrong.

Anyway. Our troop of diverse stupidity runs into vats of alien DNA. Fast-forward and they’ve taken a 2,000 year old head of an “engineer” onto their ship, which somehow manages to explode. Apparently it was infected with alien DNA and the result was that it blows up. Seems fine, except that a few minutes later one of the primary characters ends up infected by the same DNA and it doesn’t cause him to explode. In fact, at some point later in the movie yet another crew member is infected by the DNA and it also doesn’t cause E.F.S.–explosive face syndrome–it just turns them into angry zombies with super strength. So you’re thinking, hey, the DNA must react in unique ways when combined with a different species–WRONG! You also find out during the movie that the engineers share the exact same genome as us, meaning they ARE us, meaning the alien DNA should react in a similar fashion BUT IT DOESN’T.

Okay, rewind. Why does Fassbender’s character put alien DNA in the drink of one of the self-righteous scientists? He’s supposed to be a cybernetic being, incapable of emotions, including malice. I guess it could be argued that he was under orders from his father figure to perform research, but to what end? He has already shown that he is capable of reading and understanding the engineers’ language, you’d think he already knew what was in those vats just by reading about it, but somehow he felt it necessary to infect one of the crew members with it, regardless of the fact that once exposed to the DNA the crew member could have, and very nearly did, become a danger to both himself and his father figure.

Cybernetic being, incapable of emotion, but not incapable of reason. In another scene he diagnoses the primary female character with pregnancy, is aware that what is inside of her is not human and displayed three months of growth in the span of ten hours, yet he seems entirely unconcerned with helping her to remove the entity and quarantining it for the safety of the entire ship. The character just doesn’t seem to have proper motivation for any of his actions.

Fast-forward again. It is discovered, or assumed, that the vats of alien DNA are a biological weapon and will be used to eradicate the population of Earth (and probably other planets along the way). However, like I touched on earlier, it doesn’t actually seem to do anything to humans other than turn them into violent zombies. What’s the point? My wife brought up an idea that the DNA is actually a parasite and it requires a variety of hosts in order to go through the many stages before it finally becomes -the- Alien. The problem I have with that is violent zombies don’t have sex with each other to create squid-huggers that then implant the seed of -the- Alien into someone’s body.

I ask again, what is the point of the DNA turning humans into violent zombies if it’s actually supposed to be a biological weapon? You haven’t performed genocide on the planet. You haven’t released -the- Alien en masse on the population. If anything you’ve made an even stronger enemy–they’re really hard to stop, they’re super strong, and they want to kill anything that moves. Turn the entire planet into that and your only accomplishment is making life more difficult for yourself, if a global cleansing was your goal in the first place. So that didn’t make any sense in the context of the movie either.

Most of the things that happen in PROMETHEUS don’t make sense in the context of the movie. Like the aforementioned meathead asscan who turns into a raging, violent zombie. He first shows up again crumpled over into what looks like a contorted scorpion pose, and then demonstrates that he is actually quite capable of bipedal locomotion when he proceeds to kill half the remaining crew. What was the point of him being in some awkward pose if he could move around like normal? It seems like Ridley Scott just wanted to see certain things and hear certain words and phrases in his movie, and he had no intention of actually putting any effort into the making of it.

The movie goes from making no sense to somehow managing to make even less sense. They introduce conflicts that shouldn’t have even existed and served no purpose. Take the cesarean section scene for example. Why, with all their apparent infinite knowledge of technology (they’re flying through space, have mastered putting people in, and taking people out of, stasis, manufactured an intelligent cybernetic being, etc) but their operating table/system is calibrated for men only? It also doesn’t serve any purpose, because the protagonist just puts it on manual mode and inputs a cesarean section anyway.

What was the point? To make her plight seem more frantic? Or to make the guys writing the script seem like uneducated jackasses? The machine was obviously capable of performing the operation just fine, which means it wasn’t a matter of hardware, it was a matter of software. In the future, when you’re zipping through space in your supermassive, I would think you could press a fucking button and BAM, software configuration switched from male to female. No problem.

The more I think about this movie the more I realize how terrible it really was. Scrape away the pretty special effects (minus Guy Pearce’s makeup job, which was shit balls) and you’re left with a story that isn’t so much confusing to us as it illuminates how confused Ridley Scott must have been while making it.

Throughout the film we see holograms of the engineers running from something, scared. One frightened to such a degree he manages to decapitate himself on a sliding door. Yet, later, when we actually meet an engineer, he doesn’t seem to remember/give a shit/is indifferent about the plight of his people two thousand years past and immediately picks up where he left off: destroy all humans. Whatever.

Was there anything I liked? The movie looked pretty. I enjoyed seeing Noomi Rapace half naked a couple of times. I liked Fassbender as David, even though the character was shit, lacked any sort of motivation, Fassbender still managed to be good. I was a fan of the selfless act of the captain as he rammed PROMETHEUS directly into the engineers’ ship.

I didn’t like the final scene where Vickers and Eli are running from the engineers’ ship as it crashes and rolls down hills like an overgrown metal doughnut. They run in a straight line, directly in the path of the ship. STRAIGHT LINE. I was trying to give them the benefit of the doubt when Rapace’s character (Elizabeth) trips, falls down, and manages to roll TWICE which somehow magically moves her out of the radius of crush your face. If rolling twice is all that was required to save your ass from the path of the ship why did neither character think of running on a diagnal from it? Because Ridley Scott is an idiot, that’s the answer I’m going with.

So there you have it. PROMETHEUS is terrible.

The Hunger Games (2012)

Shaky cam for the loss. Nothing pisses me off more than shaky camera work. We spend millions of dollars on research to figure out how to film movies better and then we hand a camcorder to some asshole and tell him to run around with it while filming. Okay, so it’s not as shitty as Cloverfield was in terms of camera stability, but it is still really bad.

Every scene is as zoomed in as it can possibly get, which sucks an ass because there are so many awesome costumes and outfits they have the characters wearing and you never really get to see them. It makes me wonder why they bothered hiring someone to make costumes in the first place if they were planning on filming the movie this way. If you thought Transformers sucked when seventy-five tons of steel roared by the camera and you couldn’t tell what the hell was even going on, you’ll be right at home hating this movie. Same god damn thing–characters roll past the camera and you can’t tell what’s happening in the scene. I assume the filmmakers thought it would lend a certain sense of urgency to the action–IT DOES NOT! It lends a certain sense of I just wasted money wanting to see this raging pile of shit and thanks to poor decisions by the creative staff I can’t even tell what I’m watching to begin with.

There was also zero character development outside of the primary actors. The little black girl who dies? I couldn’t have cared less because they didn’t bother to develop her character into something I gave two shits about. You literally get to see her twice for a total of ten seconds prior to Katniss saving her ass and then promptly not saving her ass five minutes later when she dies. Who. Cares.

My final complaint is “May the odds be ever in your favor.” Tag line, right? Seems fine. It’s used twice within five minutes. Then more as the movie goes on. The overuse of the saying reduces it to the realm of campy and stupid in a movie that’s not trying to be campy or stupid.

On the up side, Stanley Tucci was awesome, but that doesn’t surprise me and it shouldn’t surprise you either. The movie really is a shame because I could see what they wanted to do with it, they just never got there. The acting is decent and had the cinematography been worth a damn I would easily give the movie an above average rating. Unfortunately, someone didn’t get fired in time to save this mess and the movie descends into the realm of hard, unrelenting suck because of it.

One star.